Music Halls and Operas: The Class Divide in The Yellow Book
Edward-Ian Manapul
Ryerson University
2387
Blurring of Social Classes
The Old Bedford Music Hall (reproduction of Little Dot Hetherington)
Walter Sickert
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The line between
upper class and lower class began to blur during the 1890s. Music
halls rose in professionalism, acquiring more competent critics,
actors, singers, and adopting better production techniques (Duvall
181). The content of music halls vastly improved too; operas scenes
and songs were taken word-for-word and/or parodied because the lower
classes were unable to afford seats at an opera. Parody or not, the
music hall audience enjoyed these interpretations of opera scenes.
These parodies also generated buzz for the operas (Solie 110). Even
though the main audience of music halls were lower class, upper and
middle classes were also entertained (110). The blurring of social
classes within music hall entertainment and operas caused legislation
to regulate the parodies so there would a clear division between the
two institutions by stating operas were for cultured, dramatic
feeling whilst music halls were solely for drinking. However, this
did not affect the atmosphere of the music halls or the songs; lower
classes still indulged in opera whether it be in the form of
parodies, or as isolated scenes and songs (110).
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Because of the blurring of social and economic classes, it becomes understandable why Lane included “The Lion Comique” in The Yellow Book. Despite the negative review of the painting because it appealed to lower classes, it does not negate that some of the upper and middle classes were amused by music halls. Additionally, "The Lion Comique" represented how the upper class lifestyle was no longer exclusive which blurs the line between social classes (Kift 49). Lane was also motivated by changing what was popular rather than catering to what already as popular (Dennisoff 136). Operas and foreign composers were already popular among the upper and middle class, and the increasing professionalism of music halls was also becoming popular despite writers not acknowledging it (Solie 112). Lane presumably wanted to endorse music halls as worthy of attention by the middle and upper class to change what was popular. The Yellow Book used “The Lion Comique” to convince the main audience of the music hall's increasing professionalism and value and to appeal to a broader audience.
Conclusion
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While
Sickert and Willeby's contribution to The Yellow Book contradicted,
it is representative of the class division in music during the 1890s
and Lane's desire to change it. “The Lion Comique” and “The
Composer of 'Carmen'” may differ in their subject matter and
setting, but they were both controversial because the audience did
not understand their artistic value. The former introduced the
avant-garde angle of music halls by exploring the duality of the lion
comique and the musicians. The latter encouraged the reader to
reevaluate their opinion on the opera “Carmen” because it was
poorly received initially despite its inventive qualities through the
music and narrative. Lane blurs the class division between music
halls and operas with the placement of the image and text by putting
them as having equal artistic value. The Yellow Book may have caused
controversy to gain attention, but it is possible that there is an
underlying motive of changing the mentality of popular culture. The
controversy was not there for the sake of it, but rather exists so
the audience can reevaluate their thoughts on music halls and
“Carmen” and to change popular culture as Lane originally
intended.
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Poster: The Yellow Book 3
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